markd21
New Member
My studio "band" Hallowed Illusions has completed Part 5 of our epic piece!!! I am excited to share this refrain because it is (IMHO) a cool example of the PRS SE HBII Piezo. All the guitars, except the heavy tones are the HBIIP. The heavy tones are the SE 594.
Here's the basic "rigs" used on the refrain:
ACOUSTIC GUITAR - PRS SE Hollowbody II Piezo.
PIEZO to LINE 6 HELIX (1): INPUT -> LA2A COMP -> (PARALLEL SPLIT - PATH 1) -> MCPHERSON MG4 IR [SOUNDHOLE] -> DELUXE COMP ->
(PATH 2) -> MCPHERSON MG4 IR [BRIDGE] -> DELUXE COMP ->
-> INPUT 2A (PATH 1&2 REJOIN) -> TUBE MIC PREAMP -> (PARALLEL SPLIT - PATH 1) ->
-> (PATH 2) DYNAMIC ROOM -> (PATH 1&2 REJOIN) -> MONO OUTPUT
PIEZO to LINE 6 HELIX (2): INPUT -> LA2A COMP -> (PARALLEL SPLIT - PATH 1) -> MARTIN D35 IR [SOUNDHOLE] -> DELUXE COMP ->
(PATH 2) -> MARTIN D35 IR [ROOM] -> DELUXE COMP ->
-> INPUT 2A (PATH 1&2 REJOIN) -> TUBE MIC PREAMP -> MONO OUTPUT
PIEZO to LINE 6 HELIX (3): INPUT -> LA2A COMP -> (PARALLEL SPLIT - PATH 1) -> TAYLOR 816C IR [SOUNDHOLE] -> DELUXE COMP ->
(PATH 2) -> TAYLOR 816C IR [BRIDGE] -> DELUXE COMP ->
-> INPUT 2A (PATH 1&2 REJOIN) -> TUBE MIC PREAMP -> (PARALLEL SPLIT - PATH 1) ->
-> (PATH 2) DYNAMIC ROOM -> (PATH 1&2 REJOIN) -> MONO OUTPUT
PIEZO to LINE 6 HELIX (4): INPUT -> LA2A COMP -> (PARALLEL SPLIT - PATH 1) -> SANTA CRUZ 000 42 IR [SOUNDHOLE] -> DELUXE COMP ->
(PATH 2) -> SANTA CRUZ 000 42 [17TH FRET] -> DELUXE COMP ->
-> INPUT 2A (PATH 1&2 REJOIN) -> TUBE MIC PREAMP -> (PARALLEL SPLIT - PATH 1) ->
-> (PATH 2) DYNAMIC HALL -> (PATH 1&2 REJOIN) -> MONO OUTPUT
I blend all four to get ONE tone. I record a total of 16 Acoustic guitar tracks (4x4) and blend to create 4 singular tones, which get submixed to a single track each. The Sub Groups are controlled with a VCA Master, sent to a Mono Aux bus and given the following treatments:
McPherson - SSL Bus Comp -> One Band EQ (tuned low cut to fit into the mix)
Martin - Shadow Hill Class A Master Comp -> One Band EQ (tuned low cut to fit into the mix)
Taylor - AMEK 9099 console, channel 68
Santa Cruz - AMEK 9099 console, channel 36
Obviously each submix is intended to allow ONE guitar to really shape the "tone" and the other three work to fill out the frequency response.
The "second verse" guitar line that mimics the vocal melody is the stock NECK PICKUP through the Line 6 Helix. I used a Vox AC15 model, with IRs of a Bad Cat 1x12 cab. One cab is mic'd on the cone edge 0.5" with an SM57, the other is mic'd with an R121 on the cone 1" away. It's basically a dry tone. All effects (basic echo and EQ) were added post.
The SE 594 gets 8-12 tracks. It is played through the following four "amp rigs".
594 to LINE 6 HELIX (1): INPUT -> BOGNER UBERSCHALL MODEL-> (PATH 1) -> MESA 4X12 w/V60S mic'd with an SM57 0.5" off the cap edge
(PATH 2) -> MESA 4x12 w/V60s ROOM MIC U87ai MID ROOM
->(PATH 1&2 REJOIN) -> MONO OUTPUT
594 to LINE 6 HELIX (2): INPUT -> BOGNER SHIVA MODEL-> (PATH 1) -> MARSHALL 4X12 w/75Hz GREENBACK 25s mic'd with an SM57 0.5" off the cap edge
(PATH 2) -> MARSHALL 4X12 w/75Hz GREENBACK 25s, ROOM MIC U87ai ROOM 4ft
->(PATH 1&2 REJOIN) -> MONO OUTPUT
594 to LINE 6 HELIX (3): INPUT ->JCM800 2204 MODEL-> (PATH 1) -> 1960B 4X12 w/G12-75t mic'd with an SM57 0.5" off the cap edge
(PATH 2) -> 1960B 4x12 w/G12-75t mic'd with an R121 1" off the cone
->(PATH 1&2 REJOIN) -> MONO OUTPUT
594 to LINE 6 HELIX (4): INPUT -> ROCKERVERB 100 MODEL-> (PATH 1) -> BAD CAT 1X12 mic'd with an SM57 0.5" off the cap edge
(PATH 2) -> BAD CAT 1X12 mic'd with an R121 1" off the cone
->(PATH 1&2 REJOIN) -> MONO OUTPUT
All the 594 tracks are submixed 4 to 1, and treated with NO extra processing. Once ALL the guitars are submixed, then the Guitar Bus gets a low cut filter at 80Hz. That's it.
So, that's MY end of everything. Hope you enjoy this refrain!!!
Here's the basic "rigs" used on the refrain:
ACOUSTIC GUITAR - PRS SE Hollowbody II Piezo.
PIEZO to LINE 6 HELIX (1): INPUT -> LA2A COMP -> (PARALLEL SPLIT - PATH 1) -> MCPHERSON MG4 IR [SOUNDHOLE] -> DELUXE COMP ->
(PATH 2) -> MCPHERSON MG4 IR [BRIDGE] -> DELUXE COMP ->
-> INPUT 2A (PATH 1&2 REJOIN) -> TUBE MIC PREAMP -> (PARALLEL SPLIT - PATH 1) ->
-> (PATH 2) DYNAMIC ROOM -> (PATH 1&2 REJOIN) -> MONO OUTPUT
PIEZO to LINE 6 HELIX (2): INPUT -> LA2A COMP -> (PARALLEL SPLIT - PATH 1) -> MARTIN D35 IR [SOUNDHOLE] -> DELUXE COMP ->
(PATH 2) -> MARTIN D35 IR [ROOM] -> DELUXE COMP ->
-> INPUT 2A (PATH 1&2 REJOIN) -> TUBE MIC PREAMP -> MONO OUTPUT
PIEZO to LINE 6 HELIX (3): INPUT -> LA2A COMP -> (PARALLEL SPLIT - PATH 1) -> TAYLOR 816C IR [SOUNDHOLE] -> DELUXE COMP ->
(PATH 2) -> TAYLOR 816C IR [BRIDGE] -> DELUXE COMP ->
-> INPUT 2A (PATH 1&2 REJOIN) -> TUBE MIC PREAMP -> (PARALLEL SPLIT - PATH 1) ->
-> (PATH 2) DYNAMIC ROOM -> (PATH 1&2 REJOIN) -> MONO OUTPUT
PIEZO to LINE 6 HELIX (4): INPUT -> LA2A COMP -> (PARALLEL SPLIT - PATH 1) -> SANTA CRUZ 000 42 IR [SOUNDHOLE] -> DELUXE COMP ->
(PATH 2) -> SANTA CRUZ 000 42 [17TH FRET] -> DELUXE COMP ->
-> INPUT 2A (PATH 1&2 REJOIN) -> TUBE MIC PREAMP -> (PARALLEL SPLIT - PATH 1) ->
-> (PATH 2) DYNAMIC HALL -> (PATH 1&2 REJOIN) -> MONO OUTPUT
I blend all four to get ONE tone. I record a total of 16 Acoustic guitar tracks (4x4) and blend to create 4 singular tones, which get submixed to a single track each. The Sub Groups are controlled with a VCA Master, sent to a Mono Aux bus and given the following treatments:
McPherson - SSL Bus Comp -> One Band EQ (tuned low cut to fit into the mix)
Martin - Shadow Hill Class A Master Comp -> One Band EQ (tuned low cut to fit into the mix)
Taylor - AMEK 9099 console, channel 68
Santa Cruz - AMEK 9099 console, channel 36
Obviously each submix is intended to allow ONE guitar to really shape the "tone" and the other three work to fill out the frequency response.
The "second verse" guitar line that mimics the vocal melody is the stock NECK PICKUP through the Line 6 Helix. I used a Vox AC15 model, with IRs of a Bad Cat 1x12 cab. One cab is mic'd on the cone edge 0.5" with an SM57, the other is mic'd with an R121 on the cone 1" away. It's basically a dry tone. All effects (basic echo and EQ) were added post.
The SE 594 gets 8-12 tracks. It is played through the following four "amp rigs".
594 to LINE 6 HELIX (1): INPUT -> BOGNER UBERSCHALL MODEL-> (PATH 1) -> MESA 4X12 w/V60S mic'd with an SM57 0.5" off the cap edge
(PATH 2) -> MESA 4x12 w/V60s ROOM MIC U87ai MID ROOM
->(PATH 1&2 REJOIN) -> MONO OUTPUT
594 to LINE 6 HELIX (2): INPUT -> BOGNER SHIVA MODEL-> (PATH 1) -> MARSHALL 4X12 w/75Hz GREENBACK 25s mic'd with an SM57 0.5" off the cap edge
(PATH 2) -> MARSHALL 4X12 w/75Hz GREENBACK 25s, ROOM MIC U87ai ROOM 4ft
->(PATH 1&2 REJOIN) -> MONO OUTPUT
594 to LINE 6 HELIX (3): INPUT ->JCM800 2204 MODEL-> (PATH 1) -> 1960B 4X12 w/G12-75t mic'd with an SM57 0.5" off the cap edge
(PATH 2) -> 1960B 4x12 w/G12-75t mic'd with an R121 1" off the cone
->(PATH 1&2 REJOIN) -> MONO OUTPUT
594 to LINE 6 HELIX (4): INPUT -> ROCKERVERB 100 MODEL-> (PATH 1) -> BAD CAT 1X12 mic'd with an SM57 0.5" off the cap edge
(PATH 2) -> BAD CAT 1X12 mic'd with an R121 1" off the cone
->(PATH 1&2 REJOIN) -> MONO OUTPUT
All the 594 tracks are submixed 4 to 1, and treated with NO extra processing. Once ALL the guitars are submixed, then the Guitar Bus gets a low cut filter at 80Hz. That's it.
So, that's MY end of everything. Hope you enjoy this refrain!!!
